Shakey Graves rolls the bones at Brooklyn Steel
New York City in mid-July is unforgiving. The humidity hangs low, the concrete holds its heat, and the thought of even venturing to the air (and smells) down in the subway is punishment. Walking into a venue called Brooklyn Steel doesn’t exactly scream relief, does it?
The summer heat gave the crowd every reason to show up early and linger inside the manufacturing-plant-turned-venue—a hidden gem about a half-mile from the nearest subway stop. But the venue didn’t need any help drawing people in for the evening. Not with Shakey Graves headlining on the bill.
Austin-based duo Hovvdy (pronounced “howdy”) opened the night with the venue already near capacity. Two guitars, a harmonica, and vocals had no problem holding the attention of the room. Their pacing was patient and intentional, drifting between introspective songs and others with a bit more punch. It was a strong lead-in to Shakey, and definitely will be revisiting their music on my own.
When Shakey Graves took the stage, the shift in the crowd’s energy was immediate. Clad in a faded jumpsuit and cowboy hat, he looked more like a friendly Austin mechanic than a frontman. The rest of the band matched—same uniforms, nothing cutesy about it. Just a night with this Austin crew. And of course, Buffalo Hunt, his wife and low-key secret weapon, was right there with them.
Shakey Graves is a storyteller in his lyrics and in the space between songs. His connection to New York came early in the set, joking about squatting in an apartment just a few subway stops away, writing songs and figuring out who he was. More than once, he circled back to the idea of friendship — from a roommate to a stranger, or that one buddy who always knows how to make a situation awkward.
This summer’s tour marks the tenth anniversary of And the War Came. The set moved in waves, blending tracks from the album with fan favorites across the catalog. But the real highlight of any Shakey Graves show is when he strips it all back: just a spotlight, a haze of distortion, and his vintage suitcase turned kick drum. During moments like “Roll the Bones,” you see exactly how he pulls a crowd in. Not just with sound, but with presence. The room doesn’t move, it holds its breath. Then the breakdown hits, and it’s all cheers, hoots, and bodies in motion again.
Buffalo Hunt joined Shakey throughout his set. Their chemistry always brings lightness and humor, and they made sure to remind the crowd, “we had sex.” He also spent a moment reflecting on becoming a father—and how, to his surprise, that tiny human was the result of those previously mentioned activities. Together, they joked before launching into the sarcastic duet “Dearly Departed”—a song, he admits, was written on Halloween and is equal parts ghost jokes and sex jokes. Classic Shakey!
It was refreshing to see a crowd, mostly twenties and thirties, so dialed into what Shakey’s music offers. The songs, the personality, the charm—it all just works. A few came in from out of state; I quickly became friends with a couple from Maryland. The energy never got rowdy, just good vibes all around. That’s what makes shows like this stand out. The performer and the crowd matching energy and building a few solid hours to just vibe and let the music carry it.
SET LIST
Only Son
Look Alive
Pansy Waltz
Hard Wired
Counting Sheep
House of Winston
Big in the World
The Perfect Parts
Family and Genus
Word of Mouth
If Not for You
Roll the Bones
Call It Heaven
Ready or Not
Dearly Departed
Late July (encore)
